Oleta Adams

Steppenwolf Theatre Chicago, IL
Mar. 10, 2007

Story and Photos By Andy Argyrakis

The days of a famous artist or suit bearing record
executive discovering an unknown talent are long gone
in the wake of online outlets like MySpace and
YouTube, plus reality shows such as "American Idol."
Nowadays anyone can catch the wave of the "next big
thing," though usually that star's time in the
limelight burns for a mere fifteen minutes. However,
throughout the 1980s those methods weren't in
existence and performers could actually map out a
career laced with longevity, a path taken by
alternative pop innovators Tears For Fears. Though the
group was already known for the massive selling
singles "Shout" and "Everybody Wants To Rule the
World," co-leaders Curt Smith and Roland Orzabal were
determined to break formula for a follow-up and took a
chance on a singer they saw performing in a Kansas
City hotel lounge. Her name was Oleta Adams, and she
was swiftly added to the band's line-up, becoming
vital in shaping the sound of 1989's groundbreaking
The Seeds of Love (Fontana), including the spine
chilling ballad "Woman In Chains" (which also featured
Phil Collins on drums).

Following the success of that album and tour, plus
critics approval of Adams' contributions, she struck
out solo for 1990's Circle of One (Fontana) and has
been recording a flurry of jazz, soul, gospel and
specialty projects ever since. Unlike her late 90s run
through town as a member of Collins' big band tour or
a more recent visit to Ravina as part of a Woody Allen
tribute concert, Adams presented her entire solo
career in a two act evening throughout the Steppenwolf
Theatre's intimate and acoustically satisfying venues
(which is currently in the midst of its Traffic Jam
series listed at www.steppenwolf.org). From the early
inclusions of the lush piano led "I Knew You When" to
a jazzed-up version of Billy Joel's "New York State Of
Mind," Adams showcased a sterling set of pipes that
haven't showed a single sign of wear, but continue to
ring with richness. The same could be said about the
soulful "Rhythm of Life" and glowing "You've Got To
Give Me Room," accompanied by swelling arrangements.

The second half of the show shifted from Adams and her
grand piano playing to a more casual keyboard position
and extra amplification from her drummer/husband John
Cushon and bassist Michael Mason. The trio poured
through the songstress' gospel roots with the
inspiring original "If You're Willing," along with an
impromptu sing-a-long of the old time spiritual
standard "Glory, Glory Hallelujah." However, she soon
shifted back to secular stardom for renditions of her
two most famous singles- the emotive Brenda Russell
cover "Get Here" (which earned a mighty standing
ovation) and the celebratory "Circle of One."

Though the nearly two hour evening hit several
satisfying spots, her time with Tears was glaringly
absent, especially "Woman in Chains" and "Me And My
Big Ideas." Several attendees wore the band's previous
tour shirts, indicating at least a partial interest in
that portion of her career, and she should've obliged
with at least a tune or two. Of course, without
Orzabal and Smith for duet partners, it couldn't have
been a complete package, but a quick sampling would've
still been better than nothing to add some extra sugar
to an otherwise sweet set.